of the world’s best-selling
authors. In a little over
twenty-five years, the stories
told by this Brazilian writer
have spread throughout every
continent and become part of
many cultures and of all our
imaginations. Paulo is more
than just an internationally
successful author, he’s a
writer who is loved and
respected everywhere.

What few people know, however, is that Paulo’s life story, the main
source of inspiration for his books, is even stranger than fiction.
As he himself wrote in his first book, The Pilgrimage (1987), what
he experienced in real life would seem highly improbable if turned
into fiction.

From childhood on, Paulo’s journey has been a story of dogged determination. Up until he was 40, Paulo lived life intensely, overcoming obstacles and plunging into all the dilemmas and conflicts facing
a young man in the 1970s, torn between God and the Devil. He

3

flirted with death, escaped madness, dallied with drugs, withstood torture, knew the pain and pleasure of love, found
success in music and continued to pursue his one objective,
to become, as he said when still an adolescent: ‘an established
writer, who is read and respected throughout the world’.
Over the years, Paulo’s strength and determination have been
tested to the limit, but he has never lost sight of his goal.
While his personal experience is unique, his stubborn, unceasing search for the meaning of life is universal. In looking for
his own place in the world, he found answers for the problems
afflicting us all and succeeded in putting into words the courage required to discover what now seems so obvious: all that
matters is the present moment, all that matters is love.
Paulo experimented with magic and alchemy, studied philosophy and religions of all kinds and creeds, read voraciously, lost and recovered his faith. Paulo set out on his
spiritual search wanting to be different and to feel special;
what he realized, though, is that ‘the extraordinary lies in the
path of ordinary people’. He says that we all carry within
ourselves the necessary strength to find our own destiny, to
fight the ‘Good Fight’ and fulfill our ‘Personal Legend’. Paulo is certainly fulfilling his ‘Personal Legend’, and the story
of his life is proof of this.
As a screenwriter and film producer, I am lucky enough to
be able to choose what work I do, and I only embark on a
project when I fall in love with the story. Some screenwriters
whom I greatly admire have told me that I’m mad to make
fiction out of real-life stories, when the real difficulty, they
say, is precisely that: setting the boundary between real life
and fiction.
The secret, for me, lies in respecting both things – fiction and
reality. Paulo is a complex, controversial, polemical figure,
who has lived every moment of his life as intensely as he
could. His fantastical stories may seem unlikely, but his plots
are truly universal: an example of perseverance triumphing
over adversity. A real gift for any writer.
The whole process of research for the film has taken seven
intensive years of work. At first, Paulo is everything you
would expect: strong, mysterious, unique, enigmatic. Gradually, though, he reveals himself to be a very cultivated, intelligent man, provocative and funny. And I discovered also
that, deep inside him, there is still that suspicious, rebellious
child, a man as in love with his wife as if he were an adolescent, a man who experiences the same conflicts and dramas
as everyone else. And I realised that Paulo’s real story is even
better than the stories he has invented and which have met
with such success worldwide. I discovered, above all, that the
secret of Paulo’s success lies in the transparency, courage and
generosity with which, in both fiction and reality, he shares
his story with his readers. In joy and sadness, in sickness and
in health.

«Deep inside him, there is still

that suspicious, rebellious child,
a man as in love with his wife as
if he was an adolescent, a man
who experiences the same
conflicts and dramas as
everyone else. And I realised
that Paulo’s real story is even
better than the stories he has
invented and which have met
with such success worldwide.»
444

In the film world, we say that a character isn’t what he says,
but what he does. And I usually add that this applies to life as
well: we really only get to know people through their actions,
not their words. After spending these past seven years reading
and researching, after many interviews and conversations, I
can say that Paulo is one of those rare, delightful examples of
someone whose words are completely at one with his actions.
I feel sure that when he says in a song lyric ‘try again’ or writes
in a book ‘keep on searching and you’ll find what you’re looking for’, he knows what he’s talking about.
Não Pare na Pista [Keep On Driving] is a film about a man
who draws strength from the difficulties he encounters, who
walks his own path, and who, above all, won’t give up on
his dream. A wonderful, deeply moving story that serves as
an example to us all.

Carolina Kotscho
Screenwriter of Não Pare na
Pista [Keep On Driving]

film
4

Não Pare
na Pista

Não Pare na Pista [Keep On Driving] is the title
of a rock song written by Paulo Coelho and musician
Raul Seixas back in the seventies, when they
revolutionized the Brazilian music scene. But now
it is also the title of a feature film inspired by the
author’s life story. ‘Paulo Coelho is the most
widely-read living author, but people don’t know
much about his life. And his work and philosophy
both draw on his life experiences,’ said producer Iôna
de Macedo while filming on the Camino de Santiago
de Compostela, the medieval pilgrimage route
followed by Paulo Coelho more than 25 years ago
that changed his life. That turning-point has now
become the setting for a film about a boy who never
gave up on his dream to become a writer.

Directed by Daniel Augusto and filmed on location in Brazil and Spain, the cast includes
Ravel and Júlio Andrade (young and mature Paulo Coelho respectively), Paz Vega (Luiza),
Lucci Ferreira (Raul Seixas) and Fabiana Gugli (Christina Oiticica). Because Paulo Coelho
doesn’t want to interfere in this project inspired by his life, he has had only one meeting
with Júlio Andrade – due to the insistence of the producers – in Geneva. ‘I am whatever
people think I am,’ Coelho told him. A clear and simple statement that defines the author’s
philosophy and helped the actor prepare for the role he was about to play.
The movie is expected to include some spectacular make-up special effects provided by
Academy Award-winning artists Montse Ribé, David Martí and Stephen Murphy as well
as some remarkable sets from Pedro Almodóvar’s regular production designer, Antxón
Gómez. It is hoped that Goya-award-winning composer, Lucio Godoy, will write the film
score, which will take its inspiration from the songs of Raul Seixas and Paulo Coelho.
The film is co-produced by Dama Filmes in Brazil and Babel Films in Spain, and was
written by screenwriter-producer Carolina Kotscho. Não Pare na Pista will be in Brazilian
cinemas in the first quarter of 2014. The working title for international release is
expected to be The Pilgrim.

m

5

6

Facts & Figures

Coe
150 million copies

sold worldwide, published
in 80 languages in more
than 224 territories

very hard for me to talk about
Paulo Coelho and about
The Alchemist, the novel that
made him a living classic.
A publisher is the books
s/he has published, the
authors s/he has proposed,
the successes and failures
achieved (although time, of
course, will be the final judge
of that). Paulo Coelho and, in
particular, The Alchemist,
have been a part of my
publishing life since 1994.
And given that one only lives
once – at least until someone
proves otherwise – and given
that I have always, and still
do, put my all into my work,
I can say that Paulo Coelho
and The Alchemist are woven
into the very fabric of my
personal life. In a way, they
are me.

9

«The Alchemist is not just a

To recall the 25 years since the first publication of The
Alchemist is, therefore, to recall the beginnings of my life
as a publisher, which means that personal and professional memories are very much intertwined, both the
friendship that I feel for Paulo Coelho and Mônica Antunes and my awareness of their importance in literary
and publishing terms.
As I say, it was 1994 and I hadn’t long been working at
Bompiani. Taking a chance on Paulo Coelho was not an
easy decision for a publishing house whose strong point
had traditionally been American and French fiction. The
Alchemist was published in Brazil in 1988 and while it
had been a great success, it wasn’t yet the best-seller it went
on to become. Mônica Antunes first suggested it to me,
through a person who left us only recently and whom I
have great pleasure in recalling – Gigi Giannuzzi, founder
of Trolley Books.
Mônica – I can remember it as if it were yesterday – was
convinced of the value of that book, not as an agent promoting a particular novel, but as an individual inviting
someone else to read a book that had changed her life.
Mônica was and is a reserved and elegant person, but
always very firm in her convictions.
She suggested Paulo’s book to me in 1994: it was the
English version, published by the guys from HarperSanFrancisco (a special HarperCollins imprint). I read the
book and thought it could fit in very well with our list,
which for many years had included the legendary fairy
tale The Little Prince by Saint-Exupéry (The Alchemist
shares a similarly delicate narrative and thematic tone).
So I built a kind of bridge between Saint-Exupéry’s work
and Santiago the shepherd boy’s journey to find himself.
It was worth trying.
The book came out in the autumn of 1995 and, with the
blind passion that occasionally grips me, I convinced the
sales network to launch it with a print-run, which, on
looking back, seems totally unrealistic: 50,000 copies.
That is something for which Paulo has always been grateful to me. And, slowly but surely, the book began to sell
very well and very widely.
But there’s another important point which may seem to
have nothing to do with The Alchemist. Many authors

novel from the past, it’s a novel
that keeps coming back, that is
always there, consciously, side by
side with the author’s other novels.
And side by side with us.»
444

write one book, a universal book, but find it hard to follow up with another equally forceful, expressive work, as
if, after that initial achievement, they had lost their way,
their thread, their inspiration.
Well, this is not the case with Paulo Coelho, who has not
only continued to write novels that have met with worldwide success, he has also continued to experiment with
different subject areas and even different genres. This
brings us back to The Alchemist (and this, for me, is the
crucial point), because The Alchemist is a narrative representation of the search for knowledge. The Alchemist
renews the great myths that described man’s desire to
know the truth, above all about himself. And this thirst
for knowledge is to be found not only in the novel, it is
also, and above all, to be found in the author, Paulo, who,
as man and as writer, has revealed that desire in novel
after novel, year after year.
And so The Alchemist is not just a novel from the past,
it’s a novel that keeps coming back, that is always there,
consciously, side by side with the author’s other novels.
And side by side with us.

Elisabetta Sgarbi
Publisher at Bompiani, Italy

10

The Alchemist
«When you want something, the
whole universe conspires to help
you to achieve it.»
The Alchemist

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«While I was writing The Alchemist,

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I was trying to understand why we are here.
Instead of writing a philosophical treatise,
I decided to talk to the child inside my soul.
To my surprise, millions of other people
around the world responded to that inner
child. With this book I wanted to share
with my readers the questions that
make life a great adventure precisely
because they have no answer.»
444

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I remember receiving a letter from
the American publisher, Harper Collins, which said:
‘reading The Alchemist was like getting up at dawn and seeing the sun rise
while the rest of the world still slept.’ I went outside, looked up at the sky and
thought to myself: ‘So, the book is going to be translated!’ At the time,
I was struggling to establish myself as a writer and to follow my path despite
all the voices telling me it was impossible.
And little by little, my dream was becoming reality. Ten, a hundred, a
thousand, a million copies sold. One day, a Brazilian journalist phoned to say
that President Clinton had been photographed reading the book. Some time
later I opened the magazine Vanity Fair and there was Julia Roberts declaring
that she adored the book. Walking alone down a street in Miami, I heard a
girl telling her mother: ‘You must read The Alchemist!’
The book has been translated into 80 languages, has sold more than
65 million copies, and people are beginning to ask: What’s the secret behind
such a huge success? The only honest response is: I don’t know. All I know
is that, like Santiago the shepherd, everyone needs to be aware of their
Personal Legend.

Paulo Coelho

2013

12

Since its publication, The Alchemist has succeeded in
every country where it has been published. In Brazil it
has sold more copies than any other book in history. In
the United States it has stayed on the New York Times
paperback trade fiction best-seller list for longer than
any other title. In France the novel topped the best-seller
list for more than five years. In Germany the hardback
edition beat all records after remaining in Der Spiegelâ&#x20AC;&#x2122;s
best-seller list for over 306 weeks. In Australia it went
straight to number one in the best-seller list in 1993. In
Spanish, it became the biggest-selling book for several
years throughout Latin America and Spain. In Russia it
topped the best-seller list for five consecutive years. In
Portugal, in 2002, it was declared to have sold more
copies than any other book in the entire history of the
Portuguese language, and Paulo Coelho is the countryâ&#x20AC;&#x2122;s
top-selling author. In Italy a special edition was published
in 2012 commemorating the 100th edition of the book.
In Norway a special edition includes texts written by
students in 2012 who entered a contest entitled One
Novel. Millions of Dreams. In South Africa it has been
published in more than five languages. In India it has
been translated into ten different languages. Around the
world there have been theatre adaptations, musicals,
puppets, operas and songs (such as the Japanese Acidman),
all inspired by the novel.

Rivers.) An “oral history” of an imagined
Zombie War that nearly destroys civilization

2

BEAUTIFUL RUINS, by Jess Walter
(Harper Perennial.) Ruins both emotional and
architectural, in Italy, Hollywood and
elsewhere, figure in this sweeping novel.

9

3

FIFTY SHADES OF GREY, by
E. L. James (Vintage.) An inexperienced
college student falls in love with a tortured
man who has particular sexual tastes; the
first book in a trilogy.

64

4

THE ALCHEMIST, by Paulo Coelho

255

(HarperOne.) In this fable, a Spanish
shepherd boy ventures to Egypt in search of
treasure and his destiny.

The Alchemist
is a key text for young readers
(the novel is a favourite for
high school graduation gifts)
and it has become part of the
imaginative world of a whole
new generation. Last year,
British actress Emma Watson
was seen reading the book
during her holidays, and McFly
vocalist, Tom Fletcher, said he
read the novel on a flight back
home and found it ‘absolutely
amazing’. So there is a new
public not only reading the
novel every year, but also
sharing it and talking about
it. Positive word-of-mouth
reviews ensure that
The Alchemist remains
essential reading, more
relevant than ever.

Veronika
Decides to Die
«Be crazy! But learn how to be crazy without
being the centre of attention. Be brave enough
to live differently.»
Veronika Decides To Die

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‘I entered a tiled cubicle. There
was a bed covered with a rubber sheet and beside the bed
some sort of apparatus with a handle.
“So you’re going to give me electric shock treatment,” I
said to Dr Benjamim Gaspar Gomes.
“Don’t worry. It’s far more traumatic watching someone
being treated than actually having the treatment yourself.
It doesn’t hurt at all.”
I lay down and the male nurse put a kind of tube in my
mouth so that my tongue wouldn’t roll back. Then, on
either temple, he placed two electrodes, rather like the
earpieces of a telephone.
I was looking up at the peeling paint on the ceiling when
I heard the handle being turned. The next moment, a curtain seemed to fall over my eyes; my vision quickly reduced
down to a single point, and then everything went dark.
The doctor was right; it didn’t hurt at all.’
The scene I have just described is not taken from my latest
book. It comes from the diary I wrote during my second
stay in a mental hospital. That was in 1966, the beginning

On 22 January 1999, Brazilian Senator
Eduardo Suplicy read out passages from
Veronika Decides to Die to the other
senators and managed to get approval for a
law which they had been trying to get
through the Congress for the last ten years,
a law forbidding arbitrary admissions into
mental institutions.
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of the blackest period of Brazil’s military dictatorship
(1964-1989) and, as if by some natural reflex of the social
mechanism, that external repression was gradually becoming internalised. So much so that good middle-class families found it simply unacceptable that their children or
grandchildren should want to be ‘artists’. In Brazil at the
time, the word ‘artist’ was synonymous with homosexual,
communist, drug addict and layabout.
When I was 18, I believed that my world and that of my
parents could coexist peacefully. I did my best to get good
marks, I worked every afternoon, but at night, I wanted
to live out my dream of being an artist. Not knowing quite
where to begin, I became involved in an amateur theatre
group. Although I had no desire to act professionally, at
least I was amongst people with whom I felt some affinity.
Unfortunately, my parents did not share my belief in the
peaceful coexistence of two such diametrically opposed
worlds. One night, I came home drunk, and the following morning, I was woken by two burly male nurses. […]
The situation I found myself in was so strange, so extreme, that it brought with it something unprecedented:
total freedom. All my family’s efforts to make me the
same as everyone else had exactly the opposite result: I
was now completely different from all the other young
men of my own age.
When I came out of hospital for the third time […] I was
nearly twenty and had become accustomed to that rhythm
of events. This time, however, something had changed.
Although I again got into ‘bad company’, my parents were
growing reluctant to have me readmitted to a mental hospital. Unbeknown to me, they were by then convinced that
I was a hopeless case, and preferred to keep me with them
and to support me for the rest of my life.
My behaviour went from bad to worse, I became more
aggressive, but still there was no mention of hospital. I
experienced a period of great joy as I tried to exercise my

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so-called freedom, in order, finally, to live the ‘artist’s life’.
[…] For one long year, I did exactly as I pleased; but then
the theatre group was broken up by the political police,
the bars became infiltrated by spies, my stories were rejected by every publisher I sent them to, and none of the
girls I knew wanted to go out with me - because I was a
young man without a future, with no real career, and who
had never even been to university.
So, one day, I decided to trash my bedroom. It was a way
of saying, without words: ‘You see, I can’t live in the real
world. I can’t get a job, I can’t realise my dream. I think
you’re absolutely right: I am mad, and I want to go back
to the mental hospital!’
Fate can be so ironic. When I had finished wrecking my
room, I was relieved to see that my parents were phoning
the psychiatric hospital. However, the doctor who usually
dealt with me was on holiday. The nurses arrived with a
junior doctor in tow. He saw me sitting there surrounded
by torn-up books, broken records, ripped curtains, and
asked my family and the nurses to leave the room.
‘What’s going on?’ he asked.
I didn’t reply. A madman should always behave like someone not of this world.
‘Stop playing around,’ he said. ‘I’ve been reading your case
history. You’re not mad at all, and I won’t admit you to
the hospital.’
He left the room, wrote a prescription for some tranquillisers and (so I found out later) told my parents that I was
suffering from ‘admission syndrome’. Normal people who,
at some point, find themselves in an abnormal situation
- such as depression, panic, etc. - occasionally use illness
as an alternative to life. That is, they choose to be ill, because being ‘normal’ is too much like hard work. My parents
listened to his advice and never again had me admitted
into a mental institution. […]

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2012

In 1997, after an exhausting promotional tour across three
continents, I began to notice a very odd phenomenon: what
I had wanted on that day when I trashed my bedroom
seemed to be something a lot of other people wanted too.
People preferred to live in a huge asylum, religiously following rules written by who knows who, rather than fighting for the right to be different. [...] Between normality and
madness, which are basically the same thing, there exists
an intermediary stage: it is called ‘being different’. And
people were becoming more and more afraid of ‘being different’. I decided to write a book based on my own experiences. I wrote Veronika Decides to Die, in the third person
and using my feminine ego, because I knew that
the important subject to be addressed was not
what I personally had experienced in mental institutions, but, rather, the risks we
run by being different and yet our horror of being the same. [...]
Veronika Decides to Die came out
in Brazil in August 1998. By September, I had received more than
1,200 e-mails and letters relating
similar experiences. In October,
some of the themes touched on
in the book - depression, panic
attacks, suicide - were discussed
in a seminar that had national
repercussions.

Paulo Coelho

2013

16

Eleven Minutes
«Meetings are planned by the souls long
before the bodies see each other.»
Eleven Minutes

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NEW EDITION
COMING SOON!

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During my lifetime , my
experience of sex has been both various and
contradictory. I was born into a conservative
age, where virginity was the defining
characteristic of any good, decent, proper
woman. I witnessed the arrival of the
contraception pill and the antibiotic, both
indispensable ingredients of the sexual
revolution that followed. I participated fully
and intensely in the whole hippy period,
when we went to the opposite extreme, even
practising free love at rock concerts. I have
ended up back in a semi-conservative, semiliberal age haunted by a new illness resistant
to antibiotics, an age in which no one knows
quite where we are heading […]
It is part of a writer’s job to reflect on his
own life, which is why a book about sexuality came to be a priority for me. At first, I
thought I would write about an ideal relationship between two people and I made
several attempts at writing that, all of which
came to nothing. It wasn’t until I met the
prostitute who was to become the narrative
thread in my book that I understood why the
story wasn’t working: because in order to
speak about sublime sex, you have to start
from the point where we all begin: the fear
that everything will turn out badly.

Eleven Minutes
commemorative edition designed
by Marcos Borges

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Eleven Minutes is not intended as a manual or a treatise
on men and women confronting the still unknown
world of sexual relationships. It is an analysis of my
own journey, but not a judgement on my own experiences. It took me a long while to realise that the physical coming together of two bodies is more than just a
response to certain physical stimuli or to the drive to
perpetuate the species. In fact, it carries with it all the
cultural baggage of humankind.
Sex is one of the areas in our life where it is considered
normal to lie. We lie in order to give pleasure to our
partner, not realising that the lie can – and will – infect
everything else that matters to us. We forget that sex is
a manifestation of a spiritual energy called love. […]
However, none of this can be learned from a book, which
really only describes its author’s own experiences or
views. Sex means, above all, having the courage to live
with your paradoxes, your individuality, your desire to
give yourself. That’s why I wrote Eleven Minutes: to see
if, at that particular stage in my life, at the age of 55, I
was brave enough to learn everything that life has tried
to teach me about sex.

Paulo Coelho

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«In order to speak about

2012

sublime sex, you have to start
from the point where we all
begin: the fear that everything
will turn out badly.»
444

2013

18

Manuscript
Found
in Accra
«Love is only a word, until someone
arrives to give it meaning.»
Manuscript Found in Accra

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Manuscript Found in Accra

is
the first book by Paulo Coelho to embrace the new
digital culture. The author already has a huge online community, and the new novel has connected
directly with that audience, having a real impact
on those who follow Coelho on social networks.
Even though the novel has been published in book
form, it has met with enormous success digitally
too. People have taken the words and shared them
in their profiles, and that’s because the text is written in a way that allows for fragmentation, a fact
that could define how we communicate and read
nowadays.
Chief scientist at C.E.S.A.R., Silvio Meira, analyzed Coelho’s work: ‘What’s most interesting

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about his approach is not only what he says, but
what he suggests about how texts should be read.
In this iPod shuffle worldview, anything and everything can be read selectively.’ Readers find in the
book the perfect way to communicate: they convert quotes and extracts into something personal
they want to share with friends and relatives. Quotations from the new novel have reached millions
of readers and reinforced the author’s presence in
a new and rapidly changing world. Indeed, according to Meira, Manuscript Found in Accra perfectly exemplifies how we now read and interact, and
is a great example of what texts will be like in the
near future.

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«For me, the incredible

thing about Manuscript
Found in Accra is that Paulo
has not simply created a
synthesis of all his previous
ideas, it isn’t a mere
distillation of his thinking,
but a completely new
departure.»
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Manuscript Found in Accra

leaves us with a sense of
having pondered some of the questions we would inevitably have asked
on our journey through life and that Paulo has helped us to formulate those
questions and find a certain serenity in the answers. The most impressive
thing about the book is that it isn’t merely a collection of thought-provoking quotations. The message spelled out by the book’s protagonist is more
than just a lot of sound advice; what matters is the way he constructs his
answers. Paulo places a key chapter in the very centre of the book. ‘Your
words are beautiful,’ one young man disagreed, ‘but the truth is that we
never have much choice. Life and our community have already taken charge
of planning our fate.’ It is one of the most beautiful chapters I have ever
read. It teaches us how to look at the world as if for the first time. For me,
the incredible thing about Manuscript Found in Accra is that Paulo has
not simply created a synthesis of all his previous ideas, it isn’t a mere distillation of his thinking, but a completely new departure.
Cristóbal Pera
Editorial Director of Random House Mexico

Paulo Coelho’s
Sharing
Day Planner 2014
A beautiful and colorful edition illustrated
by Catalina Estrada. Arranged in sections,
the 2014 edition is a wonderful journey
through the year with a selection of Paulo
Coelho’s best quotes.
264 pages to explore the feelings, thoughts
and ideas found in the author’s writings.

Paulo Coelho’s
Magical Moment
Tweetbook
This book, originally published
in Korea, is a collection of wise sayings
that have fascinated Coelho fans around
the world. Its 288 beautiful pages are
illustrated by Joong Hwan Hwangm.
If you love Paulo Coelho’s tweets,
you’ll love this book.

22

Paulo
Coelho’s
Digital World
«Feedback is also possible through
my blogs. I check the messages every
day, and I’m genuinely moved by the
beautiful words of wisdom that my
readers share with me. In a way the
Internet means that a writer can be
less alone, can debate ideas, share
information and be inspired by
his readers.»
Paulo Coelho

23

New App
Get access to my daily quotes,
enter my page on Facebook,
follow my tweets, read my posts
on the blog or watch my videos
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Paulo Coelho

Paulo
Coelho’s Books
Novels

ANTHOLOGIES / Essays

Manuscript Found in Accra
Aleph
The Winner Stands Alone
The Witch of Portobello
The Zahir
Eleven Minutes
The Devil and Miss Prym
Veronika Decides to Die
Manual of the Warrior of Light
The Fifth Mountain
By the River Piedra I Sat Down and Wept
The Valkyries
Brida
The Alchemist
The Pilgrimage

Inspirations
Like the Flowing River
Love Letters from a Prophet
Maktub
O Dom Supremo: The Greatest Gift
The Way of the Bow
The Book of Manuals

Paulo Coelho 'The Alchemist' 25th Anniversary

After 25 years, the novel 'The Alchemist' continues on the top positions on the best-seller lists and has become a modern classic. It has been translated to 80 languages and more than 65 million copies have been sold. In this commemorative catalogue, the author, Brazilian Paulo Coelho, describes the creating process of this and some other great books such as 'Veronika Decides to Die' or 'Eleven Minutes'.